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The sci-film 2BR02B: To Be or Naught to Be is an example of cross-over diegetic music in film, with Schubert's Ave Maria playing over separate shot sequences as non-diegetic music, but then later showing it to come from a gramophone in a hospital waiting room. A similar cross-over occurs in the closing scene of the HBO docudrama "Conspiracy ...
Exegesis (/ ˌ ɛ k s ɪ ˈ dʒ iː s ɪ s / EK-sih-JEE-sis; from the Greek ἐξήγησις, from ἐξηγεῖσθαι, "to lead out") is a critical explanation or interpretation of a text. The term is traditionally applied to the interpretation of Biblical works.
Jameson's Marxist hermeneutics is outlined in the first chapter of the book, titled "On Interpretation" [50] Jameson re-interprets (and secularizes) the fourfold system (or four levels) of Biblical exegesis (literal; moral; allegorical; anagogical) to relate interpretation to the mode of production, and eventually, history. [51]
Eisegesis is when a reader imposes their interpretation of the text. Thus exegesis tends to be objective; and eisegesis, highly subjective. Although the terms eisegesis and exegesis are commonly heard in association with Biblical interpretation, both (especially exegesis) are used across literary disciplines.
The smallest pitch difference between notes (in most Western music) (e.g. F–F ♯) (Note: some contemporary music, non-Western music, and blues and jazz uses microtonal divisions smaller than a semitone) semplice Simple sempre Always sentimento Feeling, emotion sentito lit. "felt", with expression senza Without senza misura Without measure ...
Ethnomusicology (from Greek ἔθνος ethnos ‘nation’ and μουσική mousike ‘music’) is the multidisciplinary study of music in its cultural context, investigating social, cognitive, biological, comparative, and other dimensions involved other than sound.
The dynamic range of an audio system is a measure of the difference between the smallest and largest amplitude values that can be represented in a medium. Digital and analog differ in both the methods of transfer and storage, as well as the behavior exhibited by the systems due to these methods.
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]